Reviewed as having “the most expressive conducting hands since Stokowski” by the New York Daily News, Maestro Parodi has worked extensively in North America, Latin America and Asia. Some of his credits include Carmen, Les pêcheurs de perles, Il barbiere di Siviglia, Les contes d’Hoffmann and Le nozze di Figaro for Opera Tampa; Piazzolla’s María de Buenos Aires for New York City Opera, The Atlanta Opera, Opera Hispánica and Opera Grand Rapids; Rodriguez’ Frida for The Atlanta Opera; Lucrezia Borgia and I Capuleti e i Montecchi for Buenos Aires Lírica (Argentina); The Turn of the Screw for the Castleton Festival in Virginia and The Banff Centre (Canada); Roméo et Juliette, Il barbiere di Siviglia, La traviata, Pagliacci, Faust, Dido and Aeneas, and Butterfly for Savannah OPERA; Les contes d’Hoffmann and Die Fledermaus for Opera Orlando; ¡Figaro!(90210) for Chautauqua Opera; and L’enfant et les sortilèges for The Juilliard School. He led the World Premiéres of Anton Coppola’s Lady Swanwhite for Opera Tampa, Michael Ching’s The Birthday Clown for Savannah OPERA; and John Musto’s Rhoda and the Fossil Hunt in a coproduction of On Site Opera, Lyric Opera of Chicago Lyric’s Unlimited and Pittsburgh Opera-. In the 21/22 Season he made his debut at Amarillo Opera for their Opera Gala; at Gulfshore Opera with Tosca; and at the Merola Program of the San Francisco Opera conducting the Schwabacher Summer Concert. Last season he made his debut at New Orleans Opera with Charlie Parker’s Yardbird and at El Paso Opera with La Traviata; and he returned to Tampa for Norma, Amarillo for Rigoletto; Gulfshore Opera for Il barbiere di Siviglia and Don Giovanni; and Williamsburg for Don Giovanni. This season he makes his debut at Knoxville Opera with Fastaff and at Opera San José with Rigoletto; and he returns to Orlando for Frida; Gulfshore Opera for Turandot; and Williamsburg for Die Fledermaus and Les contes d’Hoffmann.
Jorge Parodi has worked with a wide range of ensembles, as the Chautauqua Symphony Orchestra, Orquesta Sinfónica de Michoacán (Mexico), the NHK Symphony (Japan), the Ensamble XXI and the Orquesta del Conservatorio Nacional (Argentina), the Castleton Festival Orchestra, the Metamorphosis Chamber Orchestra, the Ensemble Zipoli for the American Baroque, and the Juilliard Pre College Orchestra among others. He has worked with such companies as the Teatro Colón in Argentina, the Volgograd Opera in Russia, the Encuentros Internacionales de Opera in Mexico and the International Vocal Arts Institute in Israel. He has collaborated with such artists as Isabel Leonard, Nancy Herrera, Eglise Gutiérrez, Tito Capobianco, Sherrill Milnes, Aprile Millo and Rufus Wainwright and has assisted conductors Lorin Maazel and Julius Rudel, among others.
Maestro Parodi is the General and Artistic Director of Opera Hispánica, the premier company in the United Sates focused on the Hispanic vocal repertoire and on the Latin perspective. With Opera Hispánica, maestro Parodi performed with such artists as Nancy Fabiola Herrera, Eglise Gutiérrez and Metropolitan Opera star, Isabel Leonard. He conducted OH’s production of Piazzolla’s María de Buenos Aires, which The New York Times described as “excellent.” Opera Hispánica’s programming included a production of de Falla’s El Amor Brujo featuring Spanish opera superstar Nancy Fabiola Herrera in collaboration with Teatro Grattacielo; Y Volveré, a solo recital featuring Verónica Villarroel, and the American premiere of the first Guarani opera, Diego Sanchez Haase’s Ñomongeta, in coproduction with the Americas Society and the Smithsonian’s National Museum of the American Indian; and a program of South American Baroque music at the Missions of San Antonio (an UNESCO World Heritage Site).